The Music Lovers Reviews & Ratings - IMDb IMDb 45 out of 48 people found the following review useful: The Music Lovers (1970) from America 21 October 2005 Ken Russell's "The Music Lovers" might be the one of, if not the best film ever made on the subject of classical music. I emphasize this, because as a historical biography it could be described as merely sensational. Russell portrays Russian composer Peter Tchaikovsky (Richard Chamberlain) as a closet homosexual who is haunted by the past and present. In order to obtain social acceptance, he marries a sexually ravenous young woman (Glenda Jackson). Their marriage, of course, proves to be disastrous, and Peter flees from his wife, isolating himself in the countryside to compose music for Madame Von Meck (Isabella Telezynska), a rich aristocrat and widow. But Tchaikovsky's past comes back to haunt him several times before the film's manic and grotesque conclusion. Russell has constructed images that are beautiful and disgusting (often in the same scene) and the film is a perfect accompaniment to the inspiration and ambiance felt in the composer's music.

The best scenes involve the seamless meld between sound and image. A concert at the beginning of the film beautifully transposes images of audience members listening to Tchaikovsky's latest piece, with the fantasies that the music inspires in them. Numerous fantasy sequences throughout the film teeter on the edge of insanity, highlighting the composer's feelings and fears. Which brings us to the film's astonishing and loony climax: an excessive montage set to the "War of 1812 Overture" that must rival any other sequence in the history of film for its inappropriateness. The piece is no doubt Tchaikovsky's most well known work, which brought him wealth and fame. But Russell presents his transition from composer to "star" entirely in fantasy. I could try to describe this sequence for you, but it would be futile. It must be seen to be believed. Let's just say that the climatic cannons from the "Overture" are put to violent and hilarious use. The components of the film come together perfectly. Everyone seems to have been in their element while filming. The cinematography by Douglas Slocombe is absolutely beautiful, and proves to be the best feature of the film. This is possibly the best "looking" Russell film.

Glenda Jackson's performance as the nymphomaniac wife is perfectly in tune with Russell's histrionic presentation. And though Richard Chamberlain does not fair as well, he shows some emotional depth that has hardly been seen in his other work. Russell's pyrotechnic camera-work is so breathtaking that it is a wonder why the man cannot find work these days. "The Music Lovers" is an exercise in the pure joy of film-making and the emotions it can invoke within us. Perhaps Russell's career slipped through his fingers in the late 1970's (along with his budget), but this film, like Tchaikovsky's greatest compositions, is a work of genius. Was the above review useful to you? 19 out of 20 people found the following review useful: A Tribute to a Composer Genius from San Fernando, Ca. U.S.A. 6 November 2004 I've always enjoyed watching this movie, so much because the music alone stands out for its exhilarating beauty. ( Possible Spoilers! ) Though not historically accurate, it captures the psychological emotions and passions, especially during the seven minute portion when the composer is playing the piano and imagining what the complete second movement of his Piano Concerto No.

1 in B flat minor, Op. 23 "visually" represents to himself, and what Antonina's amorous delusions would of wished it meant! In totality, the performance of this concerto and the visual interactions between Tchaikovsky, Sasha, Antonina, Madame von Meck, and the others in the concert hall are extremely intense concerning one of Russia's most famous composers. The director Ken Russell does an excellent job at directing his actors and actresses to portray the required emotional intensity, though somewhat comical over exaggerated script of the story based on the book, "Beloved Friend" The Story of Tchaikovsky and Nadejda von Meck. But, even so the excellent acting by the leading and supporting actors and actresses move this film into its "pathetique" or tragic climax. The acting by the wonderful actress Glenda Jackson is superb in her interpretation of the unbalanced Antonina Milyukova. Her performance is an effective counterbalance to Richard Chamberlain's extraordinarily complicated portrayal of Peter Tchaikovsky with all of his emotional energies concentrated on his musical compositions and his private personal torments controlling his "fate" of never having what society would deem a "normal" life!

So much said that this excellent movie is a tribute to a composer genius, especially on the anniversary ( 6th November 1893 ) of the one-hundred-eleventh year of his unfortunate mysterious death by his own hands. My rating for this movie is a 3 out of 4. Was the above review useful to you? 18 out of 19 people found the following review useful: A few boring moments, many terrific ones. Author: gridoon 26 August 2002 Although this film is difficult to follow at times (and, reportedly, historically inaccurate, too; I wouldn't know), there are still several reasons to see it: 1) Glenda Jackson's outstanding performance (you won't believe that the actress we see at the final stages of the film is the same one who played Tchaikovsky's wife early on, but it is - her transformation is amazing). 2) Some truly impressive sequences; be sure to watch this movie on tape, so you can rewind it and watch them again. 3) Tchaikovsky's music, of course. 4) Lush sets and costumes.

Ken Russell is a very unpredictable director; just when you think the film is about to start boring you, he'll give you a wonderful moment out of nowhere. Was the above review useful to you? 18 out of 19 people found the following review useful: A Visceral Punch from chicago, Il. 31 March 2001 "Music Lovers" has long been labored over as another of Ken Russell extravagant excess baggages. Seeing it again has made me realize that the film is rather brilliant--not in cinema style but in conception. From the very start it seems to capture the schizoid world of Tsaichovsky and the social milleau he was forced to grip with. The point of view shots and the subsequent dream sequences in the early portion of the film capture this in brilliant colors and sharp editing. As the musician falls into his double life the scnes build to the scarring climax. Performances are excellent. The film may not be totally accurate, but who cares? Was the above review useful to you? 13 out of 14 people found the following review useful: Tragic drama of ill-fated heroes.

from Portland, Oregon 9 August 1999 One of Richard Chamberlain's most memorable and fringe roles. Glenda Jackson is brilliant. The romance, passion, melodrama, and ultimate tragic fate of the main characters are all intensely portrayed with rich cinematography and the most lavish sets Russell ever used. The film carries that subtle yet omnipresent surreality which is a trademark of Russell's films, and which some find so annoying, and others so seductive and heightening of the experience. A truly wonderful but sad film. Was the above review useful to you? 14 out of 16 people found the following review useful: Ken Russell at full tilt. from Atlanta, Georgia 18 July 2007 "The Music Lovers" captures the Ken Russell style at its best. It's a full blown expression of his romanticized, shocking, exaggerated biographies, previously seen in black and white, low-budget BBC productions (more adequately financed here thanks to the success of "Women In Love"). Russell's excessive style contrasts the supreme beauty of Tchaikovsky's music with the turbulent, tormented, messy life from which it arose. The visual flights of fancy succeed in conveying the musical transcendence.

Performances go way over the top, but the treatment calls for it. Richard Chamberlain bravely goes where few actors would in 1970. Glenda Jackson is absolutely fearless. She'll do whatever it takes, from writhing around nude to shaving her head. There's no denying the film is a deliberate assault on the senses, but thoughtful viewers will leave with much to contemplate and digest. I should not omit the fact that it's highly entertaining as well. Was the above review useful to you? 11 out of 11 people found the following review useful: Over the Top and not altogether accurate - what else would you expect! from United Kingdom 21 August 2007 As startling and entertaining a piece of cinema The Music Lovers is, on the whole it will disappoint those who (not unreasonably) may be expecting an accurate (if typically melodramatic) biopic. Rife with inaccuracies, The Music Lovers however occasionally elicits tantalising moments of truth which will be familiar to those who might have studied the great man and his music.

The moment of madness during the composition of the violin concerto, Tchaikovsk'y mixing fact and fiction during the composition of Eugene Onegin; (resulting in his disastrous marriage), the brief glimpse of his benefactress during a stay at her apartments, the failed suicide attempt etc etc. However, these fascinating glimpses into well documented occurrences are undeveloped, and in their place we are left with a pastiche either of overly romanticised or histrionic scenes of theatrical fantasy. The real strength here lies in the actor's performances, even Richard Chaimberlain's stuffy and occasionally irritating performance has its moments and Glenda Jackson is wonderful as the vulnerable, unloved wife. The cinematography too is wonderful, evocative and colourful - perfectly in tune with the music of Tchaikovsk'y which also is used to great effect. If you can take Ken Russel's notorious penchant for the ridiculous (and at times, distasteful) and are not expecting the truth, the whole truth and nothing but the truth, then The Music Lovers is worth watching if only for its being so gloriously over the top! Was the above review useful to you?

20 out of 30 people found the following review useful: masterpiece from United States 23 January 2004 quite possibly one of the greatest films of ALL time.also the most under rated and misunderstood bios ever made. never has a film so flawlessly combined music and image to create the telling of a mans life through his excessively romantic music combined with equally excessive visuals.its highly operatic in its telling and to some over the top. how anyone can say that after listening to the mans music is beyond me.in short this is without doubt my favorite film ever made. Was the above review useful to you? 9 out of 11 people found the following review useful: Dramatic, yet fun. Author: nobita 6 February 1999 This film is one of Ken Russell's best dramatic romps. He dashes through late 19th Century Russian history without a care to whether it is all in the correct place or not. But that doesn't matter. It's your typical Russell film: Overstated dramatic acting, madness, mental institutions, frilly frocks and women with low-cut dresses and big boobs.

As this film recounts the life of 19th Century Russian composer Pyotr Tchaikovsky, Russell manages to capture a feeling this is essentially Russian. You could almost swear that the story was straight out of a Checkov play, it has that Russian warmth to it. Far more interesting than a long, drawn-out serious biography, The Music Lovers is fun and entertaining in a dramatic way, worth watching. However, keep to the encyclopaedia if you want a proper history of Tchaikovsky's life. Was the above review useful to you? 5 out of 5 people found the following review useful: Peculiar and oddball Pyotr Ilyich Tchaikovsky biography in Ken Russell style from Santander Spain 2 November 2015 Weird , bizarre story of Tchaikovsky's life . Based partially on facts , as Tchaikovsky lived as a bachelor for most of his life . As piano teacher Peter Ilych Tchaikovsky (Richard Chamberlain) is an emotionally insecure man who struggles against his homosexuality . In 1868 he met Belgian soprano Désirée Artôt .

They became infatuated with each other and were engaged to be married but due to Artôt's refusal to give up the stage or settle in Russia , the relationship ended . Tchaikovsky later claimed she was the only woman he ever loved . In 1877, at the age of 37 , he wed a former but depressed student , Antonina Miliukova (Glenda Jackson) . The marriage was a disaster . Mismatched psychologically and sexually , the couple lived together for only two and a half months before Tchaikovsky left , overwrought emotionally and suffering from an acute writer's block . Tchaikovsky's marital debacle may have forced him to face the full truth about his sexuality and he never blamed Antonina for the failure of their marriage . Tchaikovsky's family remained supportive of him during this crisis and throughout his life . He was also aided by Nadezhda Von Meck (Izabella Telezynska) , the widow of a railway magnate who had begun contact with him not long before the marriage . As The support of a wealthy widow as a patron gives him the artistic support he needs .

As well as an important friend and emotional support , she also became his patroness for the next 13 years , which allowed him to focus exclusively on composition . Tchaikovsky remained abroad for a year after the disintegration of his marriage. During this time, he completed Eugene Onegin , orchestrated his Fourth Symphony and composed the Violin Concerto . The formal Western-oriented teaching he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five (it refers to a circle of composers who met in Saint Petersburg, in the years 18561870 : Mily Balakirev , César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin), with whom his professional relationship was mixed . He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States . Tchaikovsky was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension . This is an intense and thoughtful tale about a thunderous relationship proceeded in a Russel's style .

As the film displays his trademarks , extreme angle cameras , excessive facial close-ups, utilization of numerous camera shots with primary colors and overblown visuals . Dealing with the tortuous struggles to have his music accepted as well as Pyotr attempts to suppress his homosexuality , experiencing serious psychological damage . In Ken Russell's own words: ¨It's the story of the marriage between a homosexual and a nymphomaniac that proved to be disastrous¨ . It's a convincing picture though relies heavily on the stormy relationship between Tchaikovsky/Richard Chamberlain and Nina/Glenda Jackson . Magnificent acting with exaggerated but convincing performances . Russell offered Alan Bates the lead role of Tchaikovsky during the filming of Women in love (1969) ; although Bates admired the script he turned the role down . Excellent main cast and secondary actors , such as Kenneth Colley , Bruce Robinson and Max Adrian as Nicholas Rubinstein , among others . Glamorous cinematography with exceptional attention to detail and captivating images by Douglas Slocombe .

Spectacular musical score by Andre Previn conducting famous parts as Romeo and Juliet , overture 1812 , miniature march , dance of the clowns , Scherzo burlesque , Manfred Symphony , 6th Symphony , String Quartet No. 3 , Polovtsian Dances from "Prince Igor" by Borodin . The motion picture was well directed with flamboyance style by Ken Rusell . He's an expert director , whose greatest success was in the 70s with an offbeat musical biographies , such as 'Mahler , Lizstomania , Music lovers' , besides he directed another hits , as ¨Women in love¨ , ¨Valentino¨ and ¨The Devils¨. This outlandish biographic chronicle will appeal to Ken Russell fans. Was the above review useful to you? Page 1 of 4: ‎The Music Lovers (1970) directed by Ken Russell • Reviews, film + cast • Letterboxd Review by Adam Cook ★★★★ Roger Ebert criticised this film for being historically inaccurate and not showing that the creative process is fraught with hard work.

Yet he misses the point entirely here for it is a film directed by Ken Russell, a man seldom interested in fact (perhaps he would have preferred a Tchaikovsky biopic to be made by dour realist, Bill Douglas, but I certainly know the sort of biopic I prefer). This, like much of Russell's work of the period, is pure cinema and a beautiful, and occasionally horrific, symphony of image and music. Whether it accurately captures the events in Tchaikovsky's life is immaterial, what is important is if it captures the essence of a man Russell wants to portray and… Review by Colin the dude ★★★½ If nothing else, The Music Lovers offers up Richard Chamberlain going apeshit on the piano. The camera pans from his face to his fingers, hitting the appropriate notes with godlike speed. There is also Glenda Jackson's molded-to-perfection face. The camera is obsessed with her, and for good reason. These two actors exude charisma in the most natural ways, but together, I found little to enjoy in their interactions. The confusing jumps in time, the seemingly random uses of voice over and premonition-like visions, the way drama explodes between them with unorthodox build up.

I found little reason to care what happens to them as lovers on screen and it only gets weirder and more distancing as it goes on. This… Review by MicGuarnieri ★★★★½ So, yeah, I just watched Ken Russell's film THE MUSIC LOVERS and, boy, that movie is an experience. So, for the unfamiliar, it's a take on the life of the great Russian composer Pyotr Tchaikovsky (who wrote the 1812 Overture and the famous "Romeo and Juliet" love theme, among many others) focusing on his complex relationships with his loved ones, especially the women, from his emotionally unstable wife Nina, his devoted sister Sasha, his admiring patron Nadia, to his gay lover Count Chiluvsky. So throughout the movie you get Tchaikovsky's music cut to fantasy sequences of his imagination, or distorted flashbacks to his childhood, or what have you. Some of them are lyrically beautiful (Tchaikovsky imagining retiring to a peaceful… Review by Not Pauline Kael Ken Russell seems to have invented a new genre of pornobiography.

This time, Tchaikovsky (Richard Chamberlain) is the chief victim of Russell's baroque vulgarity. For much of the movie, the characters slide in and out of fantasies that seem not so much theirs as Russell's. Whose fantasy are we in when Glenda Jackson, as Nina, Tchaikovsky's wife, writhes in torment in a blue-green madhouse and, in one sequence, is seen deliberately lying across a grating, spread- eagled, while the madmen locked below reach up under her skirt? It's unlikely to be Tchaikovsky's fantasy, because his wife (whom he lived with for only a few weeks) wasn't confined in bedlam until three years after his death. The central plot mechanism--Tchaikovsky's patroness… Review by Zaki Hasaballa ★★ "You really feel you should drive a stake through the heart of the man who made it. I mean it is so vile. It is so horrible." - Pauline Kael Ken Russell's The Music Lovers is a sprawling, incoherent mess that fails to do justice to the brilliant composer and all-around complex, interesting person that Pyotr Ilyich Tchaikovsky was.

I normally enjoy a certain amount of camp and silliness in my films, but this was shrill, garish, and cartoonish to the point of near-unwatchability. Tchaikovsky's homosexuality is at least portrayed (albeit in an insensitive, ignorant way - the train scene is embarassing), but the film spends too much time obsessing over the tedious melodrama of his loveless marriage, which goes… Review by Bryan Nguyen ★★★½ On a day off from a school, I decided to revisit this old 1970 film and prepare for a review. Released on January 22, 1971 and re-watched by me on January 22, 2011 this British drama film is handed over the directing policies to Ken Russell. The screenplay by Melvyn Bragg, based on Beloved Friend, a collection of personal correspondence edited by Catherine Drinker Bowen and Barbara von Meck, focuses on the life and career of 19th century Russian composer Pyotr Ilyich Tchaikovsky.

It was one of the director's biographical films about classical composers, which include Elgar (1962), Delius: Song of Summer (1968), Mahler (1974) and Lisztomania (1975), made from an often idiosyncratic standpoint. (reviews included soon) Much of this… Review by jimmymarkum ★★½ Some real genius/mad/hallucinated imagery by Ken Russell, in his extravagant Tchaikovsky's biopic, with the director making sure the great Russian composer's childhood trauma -of his mother's death- and his homosexuality -and consequent impossible marriage- would still get highlighted within -and never overwhelmed by- a symphonicity I sort of sensed Russell was also instilling in the unfolding musical/visual narration -and surrounding it with excellent vintage reconstructions and location selections.

Just adding a few words about the leading players: Glenda Jackson (as Nina, Tchaikovsky's nympho-wife) in a givin-it-all performance, that was even described as luciferin (indeed her final scenes managed to make me think of the director's masterpiece The Devils), and Richard Chamberlain (as the protagonist), about whom some words indeed come… Richard Chamberlain - Biography - IMDb Richard Chamberlain Jump to: Overview (3) | Mini Bio (1) | Trivia (10) | Personal Quotes (13) Overview (3) 6' 1" (1.85 m) Mini Bio (1) Richard Chamberlain became THE leading heartthrob of early 1960s TV. As the impeccably handsome Dr. Kildare, the slim, butter-haired hunk with the near-perfect Ivy-League charm and smooth, intelligent demeanor, had the distaff fans fawning unwavering over him throughout the series' run. While this would appear to be a dream situation for any new star, to Chamberlain it brought about a major, unsettling identity crisis.

Born George Richard Chamberlain in Beverly Hills on March 31, 1934, he was the second son of Elsa Winnifred (von Benzon) (1902-1993) and Charles Axiom Chamberlain (1902-1984), a salesman. He has English and German ancestry. Richard experienced a profoundly unhappy childhood and did not enjoy school at all, making up for it somewhat by excelling in track and becoming a four-year letterman in high school and college. He also developed a strong interest and enjoyment in acting while attending Pomona College. Losing an initial chance to sign up with Paramount Pictures, the studio later renewed interest. Complications arose when he was drafted into the Army on December 7, 1956 for 16 months, serving in Korea. Chamberlain headed for Hollywood soon after his discharge and, in just a couple of years, worked up a decent resumé with a number of visible guest spots on such popular series as Gunsmoke (1955) and Mr. Lucky (1959). But it was the stardom of the medical series Dr.

Kildare (1961) that garnered overnight female worship and he became a huge sweater-vested pin-up favorite. It also sparked a brief, modest singing career for the actor. The attention Richard received was phenomenal. True to his "Prince Charming" type, he advanced into typically bland, soap-styled leads on film befitting said image, but crossover stardom proved to be elusive. The vehicles he appeared in, Twilight of Honor (1963) with Joey Heatherton and Joy in the Morning (1965) opposite Yvette Mimieux , did not bring him the screen fame foreseen. The public obviously saw the actor as nothing more than a TV commodity. More interested in a reputation as a serious actor, Chamberlain took a huge risk and turned his back on Hollywood, devoting himself to the stage. In 1966 alone he appeared in such legit productions as "The Philadelphia Story" and "Private Lives," and also showed off his vocal talents playing Tony in "West Side Story". In December of that year a musical version of "Breakfast at Tiffany's" starring Richard and Mary Tyler Moore in the sparkling George Peppard / Audrey Hepburn roles was headed for Broadway.

It flopped badly in previews, however, and closed after only four performances. Even today it is still deemed one of Broadway's biggest musical disasters. An important dramatic role in director Richard Lester 's Petulia (1968) led Richard to England, where he stayed and dared to test his acting prowess on the classical stage. With it, his personal satisfaction over image and career improved. Bravura performances as "Hamlet" (1969) and "Richard II" (1971), as well as his triumph in "The Lady's Not for Burning" (1972), won over the not-so-easy-to-impress British audiences. And on the classier film front, he ably portrayed Octavius Caesar opposite Charlton Heston 's Julius Caesar (1970) and Jason Robards ' Brutus; composer Pyotr Ilyich Tchaikovsky in Ken Russell 's grandiose The Music Lovers (1970) opposite Glenda Jackson ; and Lord Byron alongside Sarah Miles _ in Lady Caroline Lamb (1972).

While none of these three films were critical favorites, they were instrumental in helping to reshape Chamberlain's career as a serious, sturdy and reliable actor. With his new image in place, Richard felt ready to face American audiences again. While he made a triumphant Broadway debut as Reverend Shannon in "The Night of the Iguana" (1975), he also enjoyed modest box-office popularity with the action-driven adventure movies The Three Musketeers (1973) as Aramis and a villainous role in The Towering Inferno (1974), and earned cult status for the Aussie film The Last Wave (1977). On the television front, he became a TV idol all over again (on his own terms this time) as the "King of 80s Mini-Movies". The epic storytelling of The Count of Monte-Cristo (1975), The Thorn Birds (1983) and Shogun (1980), all of which earned him Emmy nominations, placed Richard solidly on the quality star list. He won Golden Globe awards for his starring roles in the last two miniseries mentioned.

In later years the actor devoted a great deal of his time to musical stage tours as Henry Higgins in "My Fair Lady", Captain Von Trapp in "The Sound of Music" and Ebenezer Scrooge in "Scrooge: The Musical". Enormously private and having moved to Hawaii to avoid the Hollywood glare, at age 69 finally "came out" with a tell-all biography entitled "Shattered Love," in which he quite candidly discussed the anguish of hiding his homosexuality to protect his enduring matinée idol image. Since then, he has accepted himself and shown to be quite a good sport in the process, appearing as gay characters in the film I Now Pronounce You Chuck & Larry (2007), and in TV episodes of Will & Grace (1998), Desperate Housewives (2004) and Brothers & Sisters (2006). - IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net Trivia (10) Richard Chamberlain Art Works CONTACT Artist Richard Chamberlain has created a singular position with the world of mini-series, having starred in some of the most dramatic and powerful productions in the history of television.

Over the last two decades Chamberlain has starred in six of the most acclaimed mini-series: "SHOGUN", "WALLENBERG", "THE THORNBIRDS", "THE BOURNE IDENTITY", "DREAM WEST", and "CENTENNIAL." For "SHOGUN", the ten-hour mini-series based on James Clavell’s towering best-seller, Chamberlain essayed the role of John Blackthorne and spent over six months in Japan filming the program. For the equally ambitious "THE THORNBIRDS", a mini-series based on the international best-selling novel by Colleen McCullough, Chamberlain starred as Father Ralph de Bricassart. This ten-hour mini-series was filmed in California and Hawaii. In 1985, Chamberlain portrayed the title role of Raoul Wallenberg, the Swedish diplomat who helped save one hundred thousand Jews during World War II. This four-hour production was filmed entirely on location in Yugoslavia. "SHOGUN", "THE THORNBIRDS’, and "WALLENBERG" are all epic dramas that speak a humanistic and universal language, translating into stories and characters with appeal to viewers worldwide.

Indeed, the impact of these shows has established Chamberlain as an international star. "SHOGUN" earned Chamberlain a Golden Globe Award as Best Actor, as well as an Emmy nomination. He also received a Best Actor Award issued by London’s TV Times Magazine for his work as Blackthorne. The actor received another Golden Globe Award, Emmy nomination, a People’s Choice Award, and US Magazine ‘s 1983 Readers’ Poll Award as Best Actor in a Dramatic Series for his work in "THE THORNBIRDS." Chamberlain created another multi-dimensional character when he starred as Dr. Frederick Cook in the telefilm "COOK AND PEARY: THE RACE TO THE POLE", which he filmed in Canada with Rod Steiger who co-starred as Admiral Peary. One of Chamberlain’s most treasured roles was that of John C. Fremont in the 1986 CBS mini-series "DREAM WEST", based on the life of the California maverick.

In 1987 he returned to Broadway to star opposite the late Geraldine Paige in Noel Coward’s "BLITHE SPIRIT." Prior to that, he spent a year in Zimbabwe filming "KING SOLOMON’S MINES" and the sequel "QUATERMAINE." Chamberlain was born in Los Angeles, and first wanted to become an artist but switched gears when he scored successfully in theatrical productions at Pomona College. Following college, he was drafted into the U.S. Army, where he gained his sergeant’s stripes in Korea. Returning to Los Angeles, Chamberlain made the move away from painting and furthered his acting ambitions by studying under Jeff Corey. He was also a founding member of Company of Angels, the excellent Los Angeles Theatre company. He was then featured in a dozen American television programs in guest roles until he landed the lead in the ill-fated series pilot "PARADISE KID." Then suddenly, in 1961, Richard Chamberlain’s luck changed when the title role of the TV series "DR. KILDARE" made him a household name, literally overnight.

He played the popular physician for five years, and at the height of his fame was receiving over 12,000 fan letters a week, far more than even Clark Gable ever received. At the end of his reign as "Kildare" Chamberlain chose not to continue acting on television in any of the many series he was offered. Spurred on by the two feature films he made during his "Kildare" run –"JOY IN THE MORNING" opposite Yvette Mimieux and "TWIGHLIGHT OF HONOR" opposite Joey Heatherton-- Chamberlain chose to try his hand at the American stock repertory circuit in such plays as "PRIVATE LIVES", "THE PHILADELPHIA STORY", and "WEST SIDE STORY." His later feature performance as the brutal husband of Julie Christie in the Richard Lester film "PETULIA" was critically well received, but didn’t seem to further his career. A low point came when Chamberlain starred opposite Mary Tyler Moore in the Broadway bound musical "BREAKFAST AT TIFFANY’S" which closed prematurely after only four performances in New York.

Early in 1968, he decided to try his luck in England with British repertory theatres and perhaps features and television. In London, director James Cellan Jones thought he might be right for the role of Ralph Touchet in the six-part BBC TV serial adaptation of Henry James’ "PORTRAIT OF A LADY." Surprised critics admitted their unstinting praise of Chamberlain’s performance, and for the young American actor it was the turning point of his career. He next portrayed the romantic Frenchman opposite Katherine Hepburn in Bryan Forbes’ film of Jean Anouihl’s "THE MADWOMAN OF CHAILLOT," and topped that by becoming the first American actor to play "HAMLET" in England since the great John Barrymore in 1929. Chamberlain had purposely chosen the Birmingham Repertory Theatre when he elected to tackle "HAMLET" because it was in the English provinces and comfortably distant from London’s demanding critics. The press, however, poured into Birmingham for his opening night and accorded him excellent personal notices.

In a subsequent television production of Hamlet for Hallmark Hall of Fame Chamberlain repeated his original stage triumph, co-starring Sir John Gielgud, Michael Redgrave, and Margaret Leighton. Returning to films, Chamberlain was the cunning Octavius in "JULIUS CAESAR," shot on location in Spain in 1970. He then portrayed the tormented Russian composer, Peter Ilyich Tchaikovsky, opposite Glenda Jackson in Ken Russell’s "THE MUSIC LOVERS." Once again Chamberlain’s sensitive performance won him rave reviews in a difficult part. He followed this with Shakespeare’s "RICHARD II" during the 1971 season with the Seattle Repertory Theatre, for which he gained high praise from Time magazine.

When the play reached the Eisenhower Theatre of the Kennedy Center for the Performing Arts, the Washington Post stated that the production "heralded the rise of Richard Chamberlain as a classical actor of penetration and range." Back in England, he played ‘Thomas Mendip’ in "THE LADY’S NOT FOR BURNING" at Chichester in 1972, and portrayed Lord Byron opposite Sarah Miles in the title role of Robert Bolt’s film "LADY CAROLINE LAMB." He returned to Hollywood to portray King Edward VIII with Faye Dunaway as Wallis Simpson, and then starred in the TV film "THE LAST OF THE BELLES," playing opposite Blythe Danner and Susan Sarandon. He next played William Holden’s villainous son in the box office blockbuster "THE TOWERING INFERNO." He followed this on location in Italy with another starring role in the classic Dumas remake of "THE COUNT OF MONTE CRISTO", for which he received an Emmy nomination.

In 1978, Chamberlain directed Michael Cristopher’s "THE SHADOW BOX" at the prestigious Williamstown Theatre Festival, and later returned to act in George Bernard Shaw’s "ARMS AND THE MAN." He returned to motion pictures again for director Richard Lester in the swashbuckling extravaganza based on Dumas’ classic "THE THREE MUSKETEERS." Chamberlain portrayed the elegant, womanizing, priestly musketeer Aramis. He played the same flamboyant character in the films’ two sequels, "THE FOUR MUSKETEERS" and "THE RETURN OF THE THREE MUSKETEERS", which reunited him with Michael York and Oliver Reed. Following the "MUSKETEERS" movies, Chamberlain starred to critical acclaim in Edmond Rostand’s "CYRANO DE BERGERAC", for which he received the Los Angeles Theatre Critic’s Award. He followed this with "THE LADY’S NOT FOR BURNING" for American Public Television with Eileen Atkins.

Chamberlain continued to demonstrate his wide ranging versatility with such contrasting roles as Prince Charming in the musical film "THE SLIPPER AND THE ROSE", as well as Reverend Shannon in the Los Angeles and Broadway productions of Tennessee Williams’ "THE NIGHT OF THE IGUANA." He also starred in yet another acclaimed remake for television, the title role of the classic, "THE MAN IN THE IRON MASK." In 1979, Chamberlain was seen on television as well as on movie screens. The epic mini-series "CENTENNIAL" starred Chamberlain; in films he appeared in Irwin ALLEN’S "THE SWARM", followed by raves for his performance in Peter Weir’s fascinating Australian feature "THE LAST WAVE." He also played ‘Bobby’ in "COMPANY" on the PBS special, "MUSICAL COMEDY TONIGHT." In 1981, he starred in the New York premier of Joseph Papp’s production of Thomas Babe’s "FATHER’S AND SONS", playing Wild Bill Hickock. He then recreated his acclaimed performance in Los Angeles.

Chamberlain recently starred as Henry Higgins in the 1993-94 Broadway smash hit "MY FAIR LADY," which also toured throughout the U.S. He reprised this role in an all new production for Europe during the 1995-96 season, playing in major cities including Paris, Berlin, Munich, Zurich, Hamburg. His latest European film, "BIRD OF PREY", was shot entirely on location in Bulgaria. After Bulgaria, he completed the sequel to acclaimed production "THE THORNBIRDS" called "THE THORNBIRDS: THE MISSING YEARS." During the summer of 1996 he filmed a four-hour mini-series called "THE LOST DAUGHTER", a Canadian-Swiss-German co-production. He also filmed a feature film entitled "RIVER MADE TO DROWN IN" in the fall of 1996. A television special called "ALL THE WINTERS THAT HAVE BEEN" based on a book with the same title by Evan Maxwell was opened the fall season for CBS in September of 1997. Chamberlain starred on Broadway in THE SOUND OF MUSIC which also toured the US.

His most recent acting work has been on the HUSTLE series from BBC, and guest roles on WILL & GRACE and DESPERATE HOUSEWIVES and the very successful Adam Sandler film I NOW PRONOUNCE YOU CHUCK AND LARRY. Aside from acting, Chamberlain has long been known for his interest in environmental affairs. He lobbied long and hard in Sacramento, California, as well as, Washington D.C. to save the Tuolommne River flowing from Yosemite National Park in California. His efforts helped to win a "Wild and Scenic" designation for the river. He also narrated a widely acclaimed Audubon television special about the poaching of animals in National forests. One of his special projects was an Audubon special about Hawaii’s precious ecology. In 1989 he was the principal speaker at the San Francisco Ecological Convention. Richard also narrated cinematographer Don Briggs’ film "The Grand Canyon, It’s History, and Fragile Ecology." Chamberlain has returned to painting and show his work at the Celebrity Gallery in Wailea, Maui. Chamberlain is a resident of the Hawaiian Islands. ©1998-2016. Cham Enterprises Ltd.

All Rights Reserved The Music Lovers The Music Lovers (1970) by Johnny Web (Uncle Scoopy; Greg Wroblewski) Writer-director Ken Russell is a classical music buff. He has filmed portions of operas, has directed operas on stage, and made a series of films about the lives of composers, including Elgar, Mahler and Liszt. This particular film is part of that series and offers his take on Tchaikovsky, as played by Richard Chamberlain. It would be a disservice to both Russell and Tchaikovsky to call this a biopic, because it is not intended to be a historically accurate recitation of verified facts. It is rather Russell's speculation about how an elderly Tchaikovsky might have looked back on his life if he were experiencing feverish dreams while listening to his own music. Events and characters are distorted and exaggerated in the way we tend to do when we recall distant memories, magnifying the significance of those things which had the greatest emotional impact on us, making the merely unpleasant seem grotesque and repulsive, and the pleasant seem glittering.

As the story is told here, Tchaikovsky's psyche is ruled by his inability to reconcile his homosexuality with the "decency" required of him by 19th century Russian society. He marries an impoverished, lusty, uneducated woman who adores him passionately, thus dooming both of them to great unhappiness and frustration. In order to "pitch" the commercial viability of a film about classical music, Russell described the film to his backers as "the story of a homosexual married to a nymphomaniac," and the auteur did not fail to deliver on the lurid possibilities of that premise. Don't expect this film to be a measured, thoughtful treatment of the great composer. It is at times surreal, over-the-top, farcical, and debauched. Its pacing is manic, bordering on hysterical. Don't expect to see the kind of languorous, one-camera tracking shots that were popular in other 1970-era films about serious topics. Ken Russell was not trying to make stately films in the manner of Bergman, Kubrick or Tarkovsky. He was more like Fellini on speed.

In 2011 we are used to seeing films that consist of hundreds of rapid-fire cuts, but Russell was a pioneer of this technique in 1970, to a point where it seemed that he packed far more scenes and images into his films than any other director of his time. Even when he sticks to a scene from start to finish without cutting back-and-forth to some other times or places, Russell may incorporate dozens of different camera angles into his presentation, using none of them for more than a few seconds. When my ex-wife and I saw Russell's "The Devils" in 1971, after having seen "The Music Lovers" a few months earlier, she opined that Russell could have remade the leisurely paced "2001: A Space Odyssey" as a one-minute commercial. She wasn't exaggerating by that much. Do I think that Ken Russell did a good job on this film? Absolutely. Russell may or may not be your kind of guy, but the man had talent. First of all, the music is tremendous. Andre Previn directed the London Symphony Orchestra in creating a marvelous all-Tchaikovsky score for this film.

By the way, Richard Chamberlain's face and hands were both in the frame when he played the piano in this role, and some of the music required complicated keyboarding. We are actually hearing a professional pianist, Rafael Orozco, but Chamberlain had to learn the fingering. I don't play the piano, so I'm not the guy to make the call, but I found Chamberlain quite convincing. The real success of the film is not the music itself because film is, after all, a visual medium. What impresses me is that the visuals provide a perfect accompaniment to Tchaikovsky's compositions, always seeming to suit the music, irrespective of whether the portrayed actions are based on reality. The images are tender, pathetic, joyful, or frenetic when the music calls for it. In creating the concept, the author-director first tried to condense Tchaikovsky's life into its essence, as the composer himself might have encapsulated it in a dream state. Russell then set the most memorable images from that dream-life to the great genius's music, attempting to show how certain events and/or moods in Tchaikovsky's life might have corresponded to or have inspired his work.

If you take the film on its own terms, accepting Russell's sense of humor as well as his historical distortions, you may find the film to be an intense experience and an inspired, if occasionally trashy, piece of art. Just don't take any of it too seriously, and don't expect it to be consistently uplifting. Art is not always pretty, and art is not life. Sometimes they're not even that similar. And that can be a good thing. At the time of this review, The Music Lovers is not yet on Blu-Ray or Region 1 DVD. Richard Chamberlain | News and Photos | Contactmusic.com By Don Willmott Very Good There is so much to love about The Towering Inferno it's hard to know where to begin. Steve McQueen and Paul Newman are together at last! Fred Astaire gets drenched! O.J. Simpson saves a cat! Faye Dunaway wears Dacron! As one of the first mid-'70s disaster epics (produced by the King of Disaster, Irwin Allen), this supersized burnfest inspired countless star-studded copycats and lives on today as a sort of camp classic of its kind.

It doesn't have Red Buttons like The Poseidon Adventure does, and it doesn't have Victoria Principal's cleavage jiggling in the tremors of Earthquake, but it does have pretty much everything else. On the occasion of the dedication of the world's tallest skyscraper (which I for one would never consider building in earthquake-prone San Francisco, by the way), an A-list party is planned for the top floor. This way to the glass-enclosed elevator, please. Architect Doug Roberts (Newman) and builder Jim Duncan (William Holden) are proud, but they don't know that Duncan's cost-cutting son-in-law (Richard Chamberlain) has compromised safety for profit. Sure enough, when a small fire breaks out, things go really bad really fast, and firemen Michael O'Halloran (McQueen) and Harry Jernigan (Simpson) arrive on the scene holding their hoses. By Christopher Null Good If you like Tchaikovsky, now's your chance to see him do just about everything except compose music.

Through the twin filters of Ken Russell and the year 1970, The Music Lovers is a smashmouth look at Tchaikovsky's (Richard Chamberlain) life and loves and, in keeping with the filmed story of most composers, his descent into gibbering madness. Swan Lake it ain't, unless that lake was filled with blood and on fire. By Christopher Null OK What you say? Aussie lawyer Richard Chamberlain takes a strange trip into his psyche (he constantly dreams of floods and tsunamis) and into Aboriginal mysticism when he defends a young native against a murder charge. The Aborigine takes him into the sewers, where he is pelted with questions like "Are you a fish!? Are you a snake!? Are you a man!?" We're going with fish, but that's just us. I've never really understood the fascination with this film, widely heralded as a masterpiece from Peter Weir (more widely known now for The Truman Show).

It's creepy to watch Chamberlain's David Burton get sucked deeper and deeper into a freaky end-of-the-world prophecy and a secret society living underground (half of which is revealed through dreams, with David bolting awake screaming, every 10 minutes), but drawing any kind of useful conclusion from the film is difficult. (And the nonstop didgeridoo music is enough to drive you crazy.) I've seen the movie a few times and continue to wonder what the point was supposed to be. By Christopher Null Very Good I saw the word "whimsical" used in one product description of this installment of The Three Musketeers, a faithful adaptation of the classic novel, and no word could better describe the film. It's a combination of belly laughs via non-stop sight gags, endless swashbuckling, and only a dab of plot, all of which serve to make this an engaging event movie that takes place in France instead of in space. Packed with classic actors (including Charlton Heston, Christopher Lee, and Raquel Welch), this is a fun, nearly farcical adventure that's definitely worth a look.

By Christopher Null Very Good More of the same from Richard Lester, who made The Three Musketeers a slapstick classic. Extremely cute and nearly as much fun as the original (D'Artagnan, now a musketeer, has to save his girlfriend from the clutches of the evil Rochefort), but this isn't a story that's exactly begging for a sequel. Richard Chamberlain - TV Celebrities - ShareTV Richard Chamberlain Beverly Hills, Los Angeles, California, USA Height Richard Chamberlain's Main TV Roles Show [Complete List] BIOGRAPHY: Actor Richard Chamberlain was THE leading TV heartthrob of the early 60s. As Dr. Kildare, the slim butter-haired hunk with the near-perfect Ivy-League good looks and polite, charming demeanor became a huge celebrity and had all the girls fawning over him -- a situation he would find not only exciting and gratifying, but unnerving and haunting at the same time. Born George Richard Chamberlain in Beverly Hills on March 31, 1934, he was the second son of a salesman Charles and homemaker Elsa Chamberlain.

Richard experienced a profoundly unhappy childhood and did not enjoy school at all, making up for it somewhat by excelling in track and becoming a four-year letterman in high school and college. He also developed a strong interest and enjoyment in acting while attending Pomona College. He in fact lost an initial chance to sign up with Paramount Studios, who became interested in him right after graduation, as he was obliged to serve in Korea for 16 months. Richard headed for Hollywood soon after his discharge and within a couple of years had worked up a decent resum� with a number of visible guest spots on such series as "Gunsmoke" and "Mr. Lucky". With the arrival of "Dr. Kildare" (1961), however, he became an "overnight" sensation, a huge pin-up favorite and source of idol-worship for teenagers everywhere. It also sparked a brief singing career for the actor. The attention Richard received was phenomenal. He subsequently advanced into the usual soap-styled leads on film befitting his image but Twilight of Honor (1963) with Joey Heatherton and Joy in the Morning (1965) opposite Yvette Mimieux did not score for him the screen fame expected.

Crossover stardom is elusive and at the time he was considered strictly a TV commodity with a glossy "Prince Charming" image to shoulder on top of that. More interested in a reputation as a serious actor than the trivial adulation of youthful fans, the actor abruptly turned his back on Hollywood and devoted himself to the stage. In 1966 alone he appeared in such legit productions as "The Philadelphia Story" and "Private Lives," and also showed off his vocal talents playing Tony in "West Side Story". In December of that year a musical version of "Breakfast at Tiffany's" starring Richard and Mary Tyler Moore in the sparkling George Peppard/Audrey Hepburn roles was headed for Broadway. It flopped badly, however, in previews and closed after only four performances. An important role in director Richard Lester (I)'s Petulia (1968) led Richard to England where he dared to test his acting prowess on the classical stage.

His bravura performances as "Hamlet" (1969) and "Richard II" (1971), as well as his triumph in the play "The Lady's Not for Burning" (1972) won over the not-so-easy-to-impress British audiences. On the classier film front he portrayed Octavius Caesar opposite Charlton Heston's Julius Caesar (1970) and Jason Robards' Brutus; composer Tschaikovsky in Ken Russell (I)'s grandiose The Music Lovers (1970) opposite Glenda Jackson; and Lord Byron alongside Sarah Miles (I)' Lady Caroline Lamb (1972). While none of these three films were critical favorites by any margin, they helped to reshape Richard's image as a sturdy actor. Richard felt ready to return again to America.

While he made a triumphant Broadway debut as Reverend Shannon in "The Night of the Iguana" (1975), enjoyed modest box-office popularity with the action-driven adventure movies The Three Musketeers (1973), as Aramis, and The Towering Inferno (1974), as an cleancut archvillain, and earned cult status for the Aussie film The Last Wave (1977), it was television that made him a TV idol all over again as the "King of 80s Mini-movies". The epic-storytelling of The Count of Monte-Cristo (1975) (TV), "The Thorn Birds" (1983) and "Shogun" (1980), all of which earned him Emmy nominations, placed Richard solidly on the star list again. He won Golden Globe awards for his starring roles in the last two miniseries mentioned. In later years he devoted a great deal of his time to musical stage tours as Henry Higgins in "My Fair Lady", Captain Von Trapp in "The Sound of Music" and Ebenezer Scrooge in "Scrooge: The Musical".

Enormously private, Richard moved to Hawaii quite some time ago and at age 69 decided to "come out" with a tell-all biography entitled "Shattered Love," in which he quite candidly discussed the anguish of hiding his homosexuality to protect his enduring matin�e idol image. Recently he has shown himself to be a good sport, appearing in the gay-themed comedy film I Now Pronounce You Chuck & Larry (2007) and in TV episodes of "Will & Grace" and "Desperate Housewives". TRIVIA: Has served as honorary chair of the advisory board of Hawaii Public Television Foundation. Ranked #7 in TV Guide's list of "TV's 25 Greatest Teen Idols" (23 January 2005 issue). Long-time partner (over 25 years) of actor/director/producer 'Martin Rabbett' (qv). They live in Hawaii. Attended Pomona College in California. Related sites for this celeb

Question: Richard Chamberlain played which composer in a 1970 film?
Answer: Tchaikovsky